Supported by

THE TALES OF HOFFMANN

CHARACTERSHoffmann A storyteller................. Roger Hanke and Kristian Cleworth

Lindorf Councillor of Nuremburg ................................... John Kiefert

Nicklausse Hoffmann’s sidekick ................................. Anna Hainsworth

Olympia A mechanical doll ........................................ Lorraine Payne

Giuletta A film star ............................................... Jacqueline White

Dapertutto A studio boss ..................................................... John Kiefert

Antonia An unfortunate heroine ........................................ Sophie Levi,

Franz Crespel’s butler ................................................. Willem Meijs

Luther A bootlegger ................................................. Andrew Cooley

Nathaniel A film extra ................................................ Barry Matthews

Hermann A film extra ........................................................ Mel Taylor

Spalanzani A mad scientist ............................................ Clive Thursfield

Coppelius Spalanzani’s rival in the mad scientist stakes ........ David Mellor

Cochenille Spalanzani’s maid ............................................. Sheila Giles

Pitichinaccio An admirer of Guiletta ........................................ David Gold

Schlemil Guiletta’s co-star and former lover ......................... Steve Miller

Crespel Antonia’s father .......................................... Clive Thursfield

Dr Miracle A snake-oil salesman ................................... Devon Harrison

Voice of Antonia’s mother.............................................. Pat Bullock

The Muse An inspiration ................................................... Yukimi Muta

Mrs Luther ..................................................................... Harriet Pauly

Pianist ................................................................ Jon-Luke Kirton

Harpist ....................................................................... Sarah Dyble

Music by Jacques Offenbach Libretto by Jules BarbierEnglish version by Edward Agate Reduced score by Eric Wetherell

~ CHORUS LADIES ~

Vickie Belcher, Sue Blackwell, Gwyneth Bowdler, Pat Bullock,

Kirsty Butler, Margaret Clewett, Carole Cummins , Sarah Dyble,

Sheila Giles, Rachel Hardy, Dee Hewings, Deborah Johnson,

Alison Marsh, Valerie Matthews, Rachel Moriaty, Yukimi Muta,

Harriet Pauly, Karen Perrey, Emma Skinner, Janet Stanley,

Nuala Walters, Marrian Yates.

~ CHORUS GENTLEMEN ~

Andrew Cooley, David Gold, John Guelke, Barry Matthews,

David Mellor, Willem Meijs, Steve Miller, Andrew Nicklin,

Malcolm Oakes, Mel Taylor, Clive Thursfield.

~ ORCHESTRA ~

2nd violin Emily Tyrell

Viola Junghee Keum

Cello Peter Wilson

Double-Bass Ayse Osman

Flute Liz Wrighton

Oboe Natasha Wilson

Clarinet Caroline Robinson

Bassoon Alison Brierley

Trumpet Simon Crick

French Horn Cath Cordey

Trombone Adrian Taylor

Percussion Sarah Balls

Leader/1st violin ~ Philippa Green

Our sincere thanks to the players of the Queens Park Sinfonia

Onstage Harp Sarah Dyble

Onstage Piano Jon-Luke Kirton

KRISTIAN CLEWORTH Hoffmann

Kristian is currently studying singing at Birmingham Conservatoire under Gwion Thomas and JulianPike. Previous operatic roles include Woodrow Wilson Scoring A Century – World Premiere, The TitleRole in Gounod’s Faust, Monastatos in Magic Flute, Killian in Der Freischutz, Pantalone in The Love ofThree Oranges, Spalanzani in The Tales of Hoffmann and Le Doyen in de la Faculté Cendrillo. Kristianis very excited about performing his first role with Midland Opera.

SHEILA GILES CochenilleSheila began singing at an early age and won at the ‘Llangollen International Singing Festival’ at theoutset of her singing career. She has performed with the Midland Music Makers for many years andhas sung many principal contralto roles. Most recently she was Madame Larina in Eugene Onegin.Sheila is active on the oratorio circuit and sang the contralto role in the Ludlow Festival’s Requiemby Verdi. She sings with the Midlands Chorale and the Manor Operatic Society for whom her mostrecent role was the part of the Gypsy Queen in the Gypsy Baron. She is also involved in raising moneyfor the Kidney Patients Association.

ANNA HAINSWORTH nicklausse

Anna Hainsworth came to Birmingham following completing an MA in Philosophy and Politics at theUniversity of Glasgow to study for a Postgraduate Diploma at Birmingham Conservatoire. Whilst atuniversity, Anna studied singing under Margaret Izatt and sang in a number of successful choirsincluding the Glasgow Chamber Choir. Anna has sung a number of roles in Conservatoireproductions, including Olga from Eugene Onegin and Mercedes from Carmen in 2009’s Opera Scenes,and played Ida in a local production of Die Fledermaus in March this year. As well as performing as asoloist in several concerts, Anna sang at the 2009 Birmingham Book Festival and will be performedan original work at New Art Gallery Walsall this summer.

ROGER HANKE Hoffmann

Roger’s first stage role was Luiz, at the age of 16, in Gilbert & Sullivan’s Gondoliers. He stillmaintains a strong interest in the Savoy Operas and has performed most of the major tenor rolesand ‘patter’ parts. Whilst at University he sang in a motet choir and developed a keen interest inearly music. Later he studied singing at the Birmingham Conservatoire. He has undertaken manyprincipal parts in oratorio. He has also sung Acis in Handel’s Acis and Galatea, and the title role inCarissimi’s Jephte. His most recent roles include Monsieur Triquet in Eugene Onegin, Canio in IPagliacci, Remandado in Carmen and Macduff in Verdi's Macbeth.

DEVON HARRISON Dr Miracle

Born in Kingston Jamaica, Devon studied voice and performance at Trinity College of MusicLondon where he gained his Dip TCL and was Highly Commended in the Elisabeth Schumannprize for Lieder. Devon has performed extensively in opera and music theatre with Opera North,Birmingham Opera, Kent Opera, Surrey Opera, Pavilion Opera, The Opera Group, PegasusOpera and Tete- a-Tete & Almeida Opera. Roles have included; Frank in Die Fledermaus, Frazierin Porgy & Bess, Betto in Gianni Schicci, Talpa in Il Tabarro, Lindorf & Dapertutto in Tales of Hoffma,Sweeney Todd (title role), Tonio in I Pagliacci, Cacambo & Hermann Augustus in Candide, DonAlfonsoin Cosi fan Tutti, Osmin in Die EntFuhrung, Don Giovanni (title role), Ferrando in IlTrovatore,Zuniga & Morales in Carmen, Apollo in Orfeo, Monteverdi Joe in Showboat at the Royal Albert Hall,the Compere in the british premier of Four Saints inThree Acts. World Premieres include: Chaka(title role) for CBTO, The Father in Cry of Innocence by Gyname and Mark in The Silent Twins byAlmeida. Devon has toured extensively overseas as a lead vocalist and soloist with show bandsand opera companies. Last year he sang Banquo with Midland Opera.

Biographies“Success is going from failure to failure with no loss ofenthusiasm.” - Winston Churchill -

Artists of all kinds draw inspiration from the failure of theirlove-life. And Offenbach’s Hoffmann is no exception. Threelove stories: three debacles culminating in humiliation, horrorand heartache. Love might ‘lift us up where we belong’ but it also revels in knocking us offour self-made pedestals and sending us sprawling in the mud. Hoffmann consistently failsas a romantic lover (as, I suspect, do we all), but his stories transmute that failure intosomething richer and stranger than the sum of its parts. Until, in the end, as he hovers onthe precipice of alcohol-induced oblivion, it dawns on him that love may have more incommon with ‘Once Upon a Time…’ than with ‘…Happily Ever After.’

“No matter. Try again. Fail again. Fail better.”- Samuel Beckett -

www.claires.co.ukMidland Opera extend their grateful thanks to claire’s

Accessories, the fabulous high street accessories store, whohas generously donated most of the accessories you see onstage this evening including all the bowler hats and braces!

Thank you claire’s Without you we’re just not dressed!

Director’s Notes Andrew Potter

JOHN KIEFERT Lindorf and Dapertutto

John comes from a musical family, his great grandfather having been the composer and arrangerCarl Kiefert. John studied at The Birmingham School of Music and in its Opera School withJohanna Peters of Covent Garden, later the Head of Opera at Guildhall and while there he tookpart in a Tito Gobbi master class. He sang professionally for about two years & has since sung inoratorio, recital and opera throughout the UK and at the St Cere Music Festival in France whilecontinuing his studies with his long standing coach Stuart Smith and Victor Morris formerly headof music at ENO. He now has over thirty roles in his repertoire from Monteverdi to Brittenfavourites to date being Onegin, Iago and Sharpless. For MO he sang Alfio in Cavalleria Rusticana,Renato in A Masked Ball, Escamillo in Carmen and last year Macbeth in Verdi’s opera. Mostrecently he sang the baritone solos in the Faure Requiem for Warwickshire Singers and CarminaBurana at the Rugby Festival. His future plans include a recital in Leamington with his coachStuart Smith to include Mahler’s Kindertotenlieder and songs by Samuel Barber amongst others.

SOPHIE LEVI Antonia

Sophie Levi, 21, is from Leeds and is currently in her final year at the University of Birminghamstudying Music and receiving vocal training under Rita Cullis. This is her second production withMidland Opera since performing as one third of ‘Lady Macbeth’ in last year’s production of Verdi’sMacbeth. Sophie was a member of Leeds Youth Opera from 2005-2010 and has performed in bothchorus and principal roles in 10 operas with them. Principal roles include ‘The Nightingale’ in aworld premier production of Oliver Rudland’s The Nightingale and the Rose, Giselda in Verdi’s ILombardi, Mary Lincoln in a European premier of Philip Glass’ Appomattox, Eurydice in Offenbach’sOrpheus in the Underworld and Marguerite in Gounod’s Faust. She has also performed as the titlerole in a touring production of Gilbert and Sullivan’s Patience with the Halifax Savoyards, Barbarinain Mozart’s Marriage of Figaro with West Riding Opera and Angelica in Vaughan William’s rarelyperformed production of The Poisoned Kiss with Birmingham University. Sophie has also performedin various competitions, recitals and choirs over the years including the National Youth Training Choir of Great Britain andBirmingham University Singers.

DAVID MELLOR CoppeliusDavid has sung in every MMM production since 1985. His solo roles include Betto in GianniSchicchi, Micha and Krusina in The Bartered Bride, Balthazar in Amahl, Zuane in La Gioconda,Jobard in Aunt Caroline’s Will and Mr. Gobineau in The Medium. Roles for RSO include Zuniga inCarmen, the High Priest of Baal in Nabucco, Simone in Gianni Schicchi, Monterone in Rigoletto,the Marquis of Calatrava in The Force of Destiny, Zaretsky in Eugene Onegin the Mandarin inTurandot and the Imperial Commissioner in Madam Butterfly. He sang in three productions of LaTraviata within eighteen months; as Dr. Grenvil for English Touring Opera Summer School andMMM, and as the Marquis D’Obigny for RSO. In recent years he has played Publius in La ClemenzaDi Tito, Zaretsky in Eugene Onegin and Silvano in A Masked Ball.

LORRAINE PAYNE Olympia

Lorraine began vocal training in 1991 with Sarah Wright, and was introduced to opera in 1992.Since then she has appeared for Consensus Opera as Cherubino in The Marriage of Figaro and forMidland Opera as Marguerite in Faust, twice as Nedda in I Pagliacci, as Marenka in The BarteredBride, Adina in L'Elisir d'Amore, Monica in The Medium, Servilia in La Clemenza di Tito, Oscar in AMasked Ball, in the title role of Carmen and last year as one-third of Lady Macbeth. Lorraine hasbeen privately tutored by international singer, Margaret Field, and by MO Musical Director andvocal coach Phil Ypres-Smith. Lorraine has been a member of Midland Opera since 1993 andrecently stepped down from being Co-Chair after five years in the post.

JACQUELINE WHITE Lady in Waiting to Lady Macbeth

Whilst studying Music and French at Hull University Jacqueline’s love of opera and early music wasdeveloped when she appeared in her first opera as the Sorceress in Dido and Aeneas in 2003. Aftergraduating with honours she moved to Birmingham to study for a Masters in Performance atBirmingham Conservatoire, gained with distinction under the tutelage of Rita Cullis. Jacqueline iskept very busy singing for companies such as Operamus, Midland Opera and Birmingham OperaCompany. She also performs across the country with various choral societies and the New EnglishOrchestra. Jacqueline’s operatic roles include; Lady-in-waiting (Macbeth, with Midland Opera),Emmie Spashitt (Albert Herring, with Operamus), Spring/Sorceress (Dido and Aeneas, HullUniversity) and Second Eccho (Psyche, Birmingham Conservatoire), as well as a zephyr; Semele and

Nireno; Giulio Cesare in the opera scenes at Birmingham Conservatoire.

PAT BULLOCK Antonia’s motherIn addition to singing and playing the piano, Pat played the violin in the Staffordshire Youth Orchestra inher early years. After qualifying in clinical chemistry, she studied ballet for 10 years before returning tosinging. She then became a primary teacher, and gained a Diploma of Higher Education in Music fromBirmingham University. Having wide experience of choral and solo singing, she joined Midland Opera in2000. Since then she has taken the roles of Mrs Nolan in The Medium Annius in La Clemenza di Tito andMadame Larina in Eugene Onegin. In addition to MO, Pat sings with Mercian Opera and Midlands Chorale.

CLIVE THURSFIELD Spalanzani and CrespelClive began singing with the Forward Operatic Company, playing a number of leading rolesincluding Prince Orlofsky in Die Fledermaus and Allesando Dell Acquain Strauss’s Night in Venice. Hesang Escamillo in Carmen with Kennet Opera, and for RSO performed many major roles, includingWagner in Faust and Don Carlo in Force of Destiny. For Consensus Opera he has sung rolesincluding the Count in The Marriage of Figaro and M. Aristide de Chateau-Yquemin in Not in Frontof the Waiter. With Midland Opera he has played Marco in Gianni Schicchi, Iago in Otello, PrinceGalitsky in Prince Igor, Valentin in Faust, Dr. Dulcamara in L’elisir D’Amore. and Tonio in I Pagliacci.Recently Clive sang Samuel in Midland Opera’s A Masked Ball and Morales in Carmen.

MEL TAYLOR HermannThis is Mel’s Second solo with MO, though he has also sung with RSO. Mel joined us as a chorus member after singingwith RSO for some years.

CHLOE GAMBY Set Designer

Originating from Enfield, Chloe studied Theatre Design at Birmingham City University and emerged with a first classHonours in 2007. Since then she has designed costumes for Dynamic Dance in a collaboration with a choreographer of theBirmingham Royal Ballet and designed both the set and costumes for a revival of Meadows of Proverbs by the Director ofBRB. Previous to this year she designed the sets for Midland Opera’s productions of A Masked Ball, Carmen and Macbeth.

ANDREW POTTER Artistic Director

Andrew studied drama at Bristol University before tackling acting at Mountview TheatreSchool and drama teaching at Bretton Hall. He is a long-term associate of the award-winningBox Clever Theatre Company, for whom he directed several ‘Boxed Shakespeares’ and theiracclaimed anti-bullying piece: Mark & The Marked. Acting credits for the company includecreating the roles of the Storyteller/Shylock in the Boxed Merchant Of Venice and the Christ-like‘H’ in A Very Private Passion. In 2000 he established Wildcard, a company specialising ininnovative storytelling theatre, for whom he directed Hiawatha, Gawain & The Green Knight,Richard III, The Odyssey, Hassan: An Arabian Adventure, The Tragical Life & Times Of Macbeth InThe Beginning and Terry Johnson’s Insignificance. He also created and performed Iliad, a one-man ‘telling’ of the Trojan War in the spirit of Homer. In 2004 Andrew left Wildcard toconcentrate his energies in and around Birmingham where his first child, Gabriel, was born on

Christmas Day, followed by a baby sister, Moriah, in 2006. Since moving to Birmingham he has directed Iphigenia At Aulis,The Storm, Fair Ladies at a Game of Poem Cards and The Arabian Nights at Birmingham School of Acting; Ruddigore, TheMikado and Merrie England for Great Witley Operatic Society; and last year’s production of Macbeth for Midland Opera.

PHIL YPRES-SMITH Musical Director

Phil studied singing and organ at the Birmingham School of Music. During this time he workedclosely with the Opera School, returning later as a visiting lecturer. His Musical Direction forthe Opera School included Don Giovanni, Albert Herring, Alcina (directed from the harpsichordat the Bath Georgian festival), and the world premier of Giles Swayne’s Le Nozze de CherubinoHe was involved in preparations for the first performances of Derek Bourgeois’ Kubla Khanunder the late Sir Charles Groves. Phil currently lives and works in Birmingham and is anexperienced singing teacher and vocal coach; possessing a fine Counter Tenor voice. He hassung and accompanied for radio and led many musical and choral groups throughout thecountry. He has presented numerous lecture-recitals on subjects ranging from the history ofAnglican church music to Italian opera. He wrote and presented a programme for the BBCWorld Service taking a lighthearted look at the mysterious world of liturgical organimprovisation. Alongside an extensive teaching practice, Phil is currently artistic director ofMercian Opera, Musical Director of Opera Midland and Director of Music at St George’sChurch Edgbaston. He has also composed a number of song cycles and choral works, as wellas instrumental pieces and incidental music.

PROLOGUEDapertutto, a rich and influential studio boss, uses his wealth tocontrol the hearts and minds of all who work in tinsel-town. At theend of a day’s ‘shoot’, the crew on the studio floor settle down toenjoy a hard-earned (and probably illicit) drink, provided byLuther. Hoffmann and his sidekick, Nicklausse, arrive and areprevailed upon to entertain the drinkers. Hoffmann becomesdistracted and sings about a gorgeous woman. Soon he is persuadedto talk about his past loves: Olympia, Antonia, and Giulietta...

ACT ONE:In the first story, a youthful Hoffmann falls in love with Olympia,who he thinks is the daughter of his teacher; the inventorSpalanzani. Actually, Olympia is a singing doll created bySpalanzani and Coppélius. Coppélius turns up and sells Hoffmanna pair of rose-colored glasses that make Olympia irresistible.Spalanzani and Coppélius haggle over the doll, until Spalanzanipays his colleague off with a worthless cheque. Left alone withOlympia, Hoffmann declares his love and finds himself swept offhis feet in an after-dinner dance. Coppelius returns, bent onrevenge, and seizes the opportunity to destroy Olympia. A horrifiedHoffmann discovers that the girl he loved was never real.Hoffmann and Nicklausse flee.

INTERVAL

ACT TWO: A film set

An older Hoffmann (aided by the perpetually young Nicklausse) isfilming his latest masterpiece. In the film, Hoffmann courtsAntonia, a talented but fragile girl sheltered from the world by herfather, Crespel. Antonia falls under the influence of the evil Dr.Miracle. Gifted with a beautiful voice, Antonia has been warned to

avoid singing, as it could damage her already frail health, andHoffmann implores her to run away with him. When Hoffmannleaves the room, Miracle evokes Antonia's dead mother to implorethe girl to sing. Antonia sings until she collapses and dies.

INTERVAL

ACT THREE:The film is an enormous success and Hoffmann finds himselfidolised by the public and the industry. At a party he is introducedto Giulietta, a star who, unbeknownst to Hoffmann, has been set tosnare his affections by Dapertutto. Nicklausse warns Hoffmannagainst her, but Hoffmann (feeling young and invulnerable, again)ignores his friend. Dapertutto commands Giulietta to relieveHoffmann of his soul just as she had taken her lover Schlemil'sspirit from him. Giulietta tells Hoffmann that she will give him herheart in exchange for his reflection. Hoffmann succumbs butinstantly regrets his decision. Finding himself back out in the cold,Hoffmann fights with Schlemil and kills him. Giulietta leaves withDapertutto, as Hoffmann is pursued by furies of his own making.Once again, Nicklausse rescues him.Attended by her Doctor andLady-in-Waiting, Lady Macbeth sleepwalks about the castle, relivingthe murders. She dies and Macbeth contemplates the hollowness oflife: “a tale told by an idiot, full of sound and fury…signifyingnothing!”

EPILOGUE:

Back on the film lot, the drinking reaches its zenith and aseverything descends into chaos, Hoffmann surveys the carnage anddiscovers that his enthusiasm and passion for life, art and, aboveall, love are undiminished.

MAIN INTERVAL: Refreshments will be served in the foyer during the main interval. The Promenade Bar will be open before and afterthe performance and during the interval. Patrons requiring drinks during the interval and particularly at the end of the performance areurged to order them in advance. Smoking is not permitted in the auditorium. Neither is the use of cameras and tape recorders. Firstaid facilities are provided by St John's Ambulance which gives its services voluntarily. In accordance with the requirement of thelicensing justices: a) The public may leave at the end of the performance by all exits and entrances other than those used as queuewaiting rooms and the doors of all such exits and entrances shall at all times be open. b) All gangways, passages, and staircases shallbe kept entirely free from chairs or other obstruction. c) Persons shall not be permitted to stand or sit in any of the intersectinggangways. If standing be permitted at the rear of the seating, sufficient space shall be left for persons to pass easily to and fro. THECRESCENT THEATRE Licensee and Manager Ian Thompson

SYNOPSISThe action takes place in Hollywood circa 1920-1930,

in a universe similar, but not identical, to our own.

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Musical Direction .................................................. Phil Ypres-Smith

Artistic Direction ......................................................... Andrew Potter

Rehearsal Accompanist ...................................................... Jon-Luke Kirton

Production Co-ordinator ...................................................... Malcolm OakesStage Design ................................................................................... Chloe GambyCostumes ................................................... Emma Skinner & Deborah JohnsonAssisted by........................................................................ company membersProps .................................................................................................... Steve MillerSet realisation .............................................................................Trevor WoodfordSet construction .......................................Trevor Woodford, Jemima Bruntlett,

David Conway, Graham Leonard & Malcolm OakesStage Manager ............................................................................... Robert TaylorLighting Co-ordination ............................ Crescent Theatre & A Cummings?Stage Crew...................................... Roger Mann and friends of the company

FRONT OF HOUSETicket Manager ................................................................................. Norma Johnson

Front of House ............................... Dave Bowdler, David Johnson, Norma Johnson, Dee White, Pam Davies, Pat Nixon, Penry Davies

OFFICERS OF MIDLAND OPERA

President .............................................................................................. Patricia Nixon

Chairman .......................................................................................... Malcolm Oakes

Treasurer ........................................................................................... Barry Matthews

Secretary ............................................................................................ Patricia Bullock

Members’ Representatives ................................ Emma Skinner and Clive Thursfield

Co-optted member ............................................................................. Andrew Cooley

Press & Publicity design and co-ordination ...................................... Lorraine Payne

Our sincere thanks to St. George’s Church, Edgbaston for their rehearsal space.

Our grateful thanks to everyone who has contributed to this production and to any who we may have inadvertently omitted.

2010 PRODUCTION TEAM

Our sincere thanks for attending this performance of The Tales of Hoffmann. We hope you enjoy the eveningas much as we have enjoyed preparing it for you. Here’s some Midland Opera news...

Recruitment

Our bright and informative web-site midlandopera.com, and Artsfest has again recruited well. We haveattracted more new members this year. And, again, new principals add their starlight to our production tonight!With more waiting in the wings for next season, our future is set to go from strength to strength.

If you like what you see and would like to be a part of it, why not give us a call on 07971 673 060, or emailinfo@midlandopera.com. You can be sure of a warm welcome.

Well-supported

Eric Wetherell has again produced an excellent reduced score, which suits the forces of a smaller company,and will be a welcome addition to our bank of excellent reductions which are now available for hire.

Welcome back to the talented players of the Queen's Park Sinfonia who ensure that we are well-supported.

Trevor Woodford, who creates our incredible sets, always surpasses the challenge of Chloe’s designs. The factthat every part of the set is made of card, and engineered to the Nth degree is a sight to see in construction.

Andrew Potter, in his second year, presents a partner-piece for last years Macbeth as he paints the stage withaction, light and staging concepts beyond our wildest dreams. But what fun we have realising them!

Comings and goings

Malcolm and Lorraine reach the end of an enjoyable tenure in the Chair following this opera, and hand over tonew team at the top; Clive Thursfield, Andrew Cooley and Emma Skinner. Hot with ideas and ambition for thecompany, they’re raring to go and we wish them every success as they take us to the next level!

Friends, one and all.

Each year we give amazing presentations, but it is expensive. And this year we have no extrnal funding. Wehope that you will become a ‘Friend of Midland Opera’ in recognition of our endeavours. See details below..

We look forward to seeing you again soon. With all our very best wishes, from all at Midland Opera.

www.midlandopera.com

Thank you, and see you next year!

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